Thinking Out Loud by Atlanta, GA-based Trey Wright Trio, raises the bar for energized, collaborative and highly listenable guitar, bass and drum trio music. Pay attention while taking in the compositions. Each tuned-in musician contributes highly relevant musical ideas challenging and complimenting the group. Sure the musicians use hands and fingers to strike notes, deliver chords and hit drums and cymbals. However, it’s not the pick, the sticks or fingers alone which make this recording. What then, you ask? The ears simply take lead. The Trey Wright Trio is an intensely attentive, selfless mix of musicians completely connected to what is going on around them. The result: outstanding individual and trio playing fitting the title Thinking Out Loud.

Trey Wright’s original tunes are clean yet edgy, never over-composed and ripe with improvisational green space. His soloing uses the intended leg room and is played with an efficiency of order, motion and energy.

The guitar sound is seductive. Technique and skills are simply a means to an end. Mr. Wright plays what fits, no more, no less and does so with self-assurance.

Drummer, composer and co-producer Marlon Patton is a magician at phrasing with his drums and cymbals. His flowing style produces fresh twists at every turn, rarely with repetition. He plays with a never-look back, understated confidence. Mr. Patton owns the ability to instantly take what he feels and express it with delicate precision. Try to appreciate what he hears, because it is his listening that translates so well into the music he creates on the drums.

Bassist Marc Miller supports the compositional structure and offers buttery improvisational work. He is patient with his notes and very often felt but not heard. Mr. Miller is a remarkably tasteful bassist.

What about the music? Statements (musical or conversational) made under the umbrella cliché of "thinking out loud" often result in particles of incomplete thought. Good ideas? Maybe, but many times these fragments lose the spirit of the original idea. Why? The time and additional work required for deeper development of the thought will evaporate the original idea. Poof, gone is the nugget itself. The members of the Trey Wright Trio have made music (thought out loud) together so many times that they complete/compliment each other’s musical sentences leaving few if any above mentioned particles on the cutting room floor. Bravo!

Wrapped in this recording are seven original compositions by Trey Wright and one by Marlon Patton. Two other selections are interpretations of "Blow Up the Outside World" written by Chris Cornell of Sound Garden and "Analyse" by Thom Yorke of the Radiohead. All are worth many plays.

What were they thinking? Listen as the Trey Wright Trio goes about Thinking Out Loud and decide for yourself. More out loud thinking please!

]]>morrice.blackwell@gmail.com (Bruce Pulver)Progressive - CD ReviewsSat, 21 Mar 2009 19:00:00 -0500Street of Dreams by Annie Sellickhttp://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/street-of-dreams-by-annie-sellick.html
http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/street-of-dreams-by-annie-sellick.htmlAnnie Sellick shines in full force on Street of Dreams. After taking some time to explore the swing band genre with her group "Annie and the Hot …

Annie Sellick shines in full force on Street of Dreams. After taking some time to explore the swing band genre with her group "Annie and the Hot Club," she hits the jazz scene hard. GAME ON! As with all previous recordings, Ms. Sellick throws herself completely into each arrangement. Her intense energy powers through it all, whether smoking up tempo or slithering through the vocal and bass lines of a sultry ballad. The music keeps all ears "locked in the moment." Street of Dreams holds to Ms. Sellick’s high standards of musicianship, creativity and respect for the tradition.

Two stellar trios lend their support. This first is Gerald Clayton, piano with Dan Lutz on Bass and Kevin Kanner on Drums (same trio as on Ms. Sellick’s live CD "A Little Piece of Heaven") and Jeff Hamilton, drums with Tamir Hendleman on piano and Christoph Luty on bass. Both casts bring unique talent and blend of style. Ms. Sellick floats between both with ease. The result is pure "ear candy" and testifies to the caliber of musicians who want to work with Ms. Sellick.

"Street of Dreams" weaves through eleven compositions some well known standards and others not so well known. But each one jumps to life with the interpretation and energy that Annie Sellick brings. CD pops open with a funky slow fizz on Lambert, Hendricks, and Ross' "Cloudburst." Shortly in, Kevin Kanner’s drum verse jumps out of the blocks, releases the bubbles and the tune swings to action. The obvious joy in Ms. Sellick’s voice blossoms the tune to its full flower.

Switching gears. Chrisoph Luty’s rich molasses-like bass introduction on George Gershwin’s "Do It Again" lays a thick foundation for Ms. Sellick to work. By varying her tempo and exploring her vocal range, ‘tis easy to visualize a cat after a mid-day nap stretching for places seemingly out of reach. The result just feels good.

On Gilberto Astrud’s "Tristeza" (Portuguese for "sadness") and "Mambo-Italiano," we hear Ms. Sellick’s comfort not only with Latin rhythm and lyrics but also with improvisational exchanges, showing her personality and light-hearted humor whenever possible. Sweet! Her band mates understand interpretation and create the musical atmosphere of the village cafe’ where these compositions belong.

"Spring Will Be Little Late This Year," "I Know You Oh So Well" and "I Keep Going Back to Joe’s" illustrate Ms. Sellick’s mastery of ballads and living the lyrics. The listener easily becomes a believer. Just listen.

Who doesn’t love Paris? Well "I Love Paris" gets even better in a rhythmic, waltz feel. The ensemble then tears into a straight ahead groove that showcases their swingability only later to waltz their way out of the City of Lights. Ahh!

Songs with double meanings are the lyricist’s genious. "Some Cats Know" by Jerry Leiber and Mike Stoller is a greasy, torchy tune that on the first listen the message is either clear or it is not. The title says it all. "Look Out For Love" is a story of advice to the guy who may or may not be looking for love. The choice is in the listener’s heart. Sassy and classy, like everything Annie Sellick does.

"Street of Dreams" is a tricky tune with the vocals left out there to find a place to settle. There is perfect safety however with the trio swinging hard underneath. Pleasingly added to this arrangement is the well voiced, plunger-mute trumpet of Rob McGaha who expertly navigates the "Street."

One of Ms Sellick’s unique traits is how much control she has over her voice. Whether managing to a slight crack of the lyric, introducing subtle vibrato or moving from beautiful tone to speaking and smiling a line, Ms. Sellick is always under control with perfect grace. Never does an ounce of Annie Sellick’s energy go wasted.

]]>morrice.blackwell@gmail.com (Bruce Pulver)Jazz Vocals - CD ReviewsSat, 21 Mar 2009 13:00:00 -0500The Comet’s Tail: Performing the Compositions of Michael Brecker by Chuck Owen & The Jazz Surgehttp://jazzreview.com/cd-reviews/big-band-swing-cd-reviews/the-comets-tail-performing-the-compositions-of-michael-brecker-by-chuck-owen-the-jazz-surge.html
http://jazzreview.com/cd-reviews/big-band-swing-cd-reviews/the-comets-tail-performing-the-compositions-of-michael-brecker-by-chuck-owen-the-jazz-surge.htmlOn January 13th, 2007, the music world lost a genius, Michael Brecker. While with us on this planet, Mr. Brecker established the standard by which modern saxophone playi…

On January 13th, 2007, the music world lost a genius, Michael Brecker. While with us on this planet, Mr. Brecker established the standard by which modern saxophone playing is measured. His technical skills never over-shadowed his melodic and harmonic mastery. His artistry left fellow band members shaking their heads, audiences in awe and always wanting more. Arguably, the most prolific and innovative saxophonist in the last 50 years, Mr. Brecker was an equally masterful composer, a fact which often goes unrecognized.

Chuck Owen and the Jazz Surge‘s release "Comet’s Tail: Performing the Compositions of Michael Brecker", was conceived as a project bringing attention to Mr. Brecker’s compositional gifts and lifting up some of the most intricate, hard driving jazz compositions ever penned. The objective was to invite the jazz world’s most skillful arrangers to work up arrangements on a sampling of Mr. Becker’s compositions and to challenge the members of the Jazz Surge Big Band to put their skills to the test and generate the an intense level of energy into the resulting charts.

Mr. Owen’s project began after Mr. Brecker’s personal battle with MDS and leukemia illness surfaced. Intentions were for the Jazz Surge to perform these fresh arrangements in live performances with Mr. Brecker possibly in attendance. Well after two and a half year battle, Mr. Brecker, passed before the final works could be performed for him.

While not the initial intent, this project and resulting CD is a touching tribute to the powerful works and contributions of Michael Brecker. Soloists fronting the ultra-talented Jazz Surge Orchestra include Mr. Brecker's brother Randy and many of his longtime collaborators and dear musical friends who eagerly volunteered to join the project. The resulting recording is a fitting musical thank you note to the immeasurable contributions of a true Jazz Legend.

If you are aware of Michael Brecker’s work as a soloist, bandleader or member of his many group efforts, give this CD by Chuck Owen and the Jazz Surge a serious listen. The power of Mr. Brecker’s work is properly, complimented and elevated in "Comet’s Tail - Performing the Compositions of Michael Brecker." Thank you Mr. Owen and Company. Your work is clear with passion, love and respect for a man who contributed so much to the world of music.

These are my comments, I welcome yours.

Bruce Pulver

]]>morrice.blackwell@gmail.com (Bruce Pulver)Big Band / Swing - CD ReviewsSat, 21 Mar 2009 07:00:00 -0500Take To The Sky by Kat Edmonsonhttp://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/take-to-the-sky-by-kat-edmonson.html
http://jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/take-to-the-sky-by-kat-edmonson.htmlIf Stan Getz were a vocalist, he would have sounded like Kat Edmonson. His light, breathy tone was in contrast to many of the heavy players of his day. Ms. Edmonson is a…

If Stan Getz were a vocalist, he would have sounded like Kat Edmonson. His light, breathy tone was in contrast to many of the heavy players of his day. Ms. Edmonson is a modern day vocal version of Mr. Getz. She is a song whisperer. Like the horse whispers who train the wild stallions with a gentle, confident command, she captures the listener with deft voice control often slightly above audible yet always with utter clarity. This recording "Take To The Sky" is POWERFUL!

Ms. Edmonson sets the tone for the entire band. The supporting ensemble listens while bent on playing underneath each other, a rare find these days. The grooves throughout the recording are all in the relaxed pocket, like in a hammock saying "let’s stay here forever."

The Kevin Lovejoy/Kat Edmonson collaborations offer a new lease on life for the jazz standards and contemporary covers selected for this project. How?

Gershwin’s "Summertime" has been done more times than the seasons have changed. This interpretation starts with a hypnotic piano waltz feel. Simple enough right? Then overlay a slow cymbal and rim clap in a two against three pattern. Hmm that’s interesting. A former music teacher taught this pattern by saying "not difficult, not difficult.... " Try it. Listen to what it does to the eeriness of this classic composition. What about the plunger-muted trombone solo by Roy Westray which helps to increase the steamy tension until they take the tune home? If the first track does not set the hook for more, this writer can’t help.

"Just Like Heaven" is a remake of the Cure’s 1987 release "Kiss Me, Kiss Me, Kiss me". One of several Latin-feel interpretations, enter a bossa nova. Quite a supporting, tasteful Tenor Saxophone interlude by John Ellis follows. Remove the melodic instrumentation leaving a vocal and percussion segment which sets up the exit verse. Find someone you care about, to share this arm in arm, toe to toe. It will be exactly what the title says.

Moving on, Cole Porter’s "Night and Day" is hipped up with a simple half time piano vamp driven by a very loosely tensioned snare drum in double time feel beneath the recognizable lyrics. Mr. Lovejoy is then given freedom to improvise a bit over the same rhythm pattern.

"Charade", the Henri Mancini Johnny Mercer collaboration, continues the intrigue and mystery by opening with jungle-like drum and bass introduction. The tempo is slow yet incorporates a relentless rhythm underneath. By now, the listening ear should be joined by the hips wanting to get into the game. Just try not to move. Oh what’s next? A bass clarinet solo by John Ellis. A what? Look it up, but only after you listen. Fantastic choices, Bravo!

Next is "Lovefool" the Cardigan’s pop song written by Peter Svensson and Nina Persson. The introduction brings back a vision of the "Roaring 1920’s," as it moves into another slow Latin-percussive feel. Well placed, seductive pauses throughout provide time for one of those cat-like, full-body stretches before moving right back to the mambo groove. With no offense intended to the classic Saturday Night Live and Christopher Walken skit, this Cowbell adds perfectly to the fever. ‘Tis not a remedy for this song.

Following is "Angel Eyes" the 1953 composition by Matt Dennis and Earl Brent. The pulsing bass is stuck on a singular note, the piano, brushed drums and playful vocals flirt with this underlying tension. Release on the bridge then return to the bass. So much room is provided for Kevin Lovejoy’s piano notes to sashay through the form. Back to vocals and melody of course, but don’t be fooled, Eric Revis and his bass have complete control over this ultra-seductive arrangement.

"One Fine Day", the 1963 Chiffons hit written by Gerry Goffin/Carole King, has a smoke-filled, bluesy feel from the start. Note this arrangement is performed without piano. Vocal, bass and drums, take the tune completely through. Ms. Edmonson turns the spotlight over to Ron Westay on Trombone who again instead of casting a shadow, plays as if he is standing in one, what a compliment to the song and the ensemble. It takes courage for a vocalist to go without the accompanying chord support from the piano. Very clean in a greasy sort of way.

On "(Just like) Starting Over", Ms. Edmonson turns on the Billie Holiday influence, to the classic John Lennon tune. It moves so slowly, seemingly to almost back up. Sit and relax with a glass of wine in hand and an arm around someone you care about. Crackling fireplace wouldn’t hurt either.

The final selection on "Take To The Sky" is the 1955 song by Fran Landesman and Tommy Wolf entitled, "Spring Can Really Hang You Up The Most". Void of all instrumental support, here is Ms. Edmonson’s voice in its pure form. She takes a very well calculated risk. Just take it in and enjoy.

The selections on"Take To The Sky" are put together with careful thought. Each song compliments the one before and fits with the one after, like a delicious, multi-course meal. Captivated by the song styling of years gone by, Ms. Edmonson’s "Take To The Sky" is not a limit. This powerful recording can carry Ms. Edmonson as far as she wants to go, to the sky and beyond.

Dr. Gordon Vernick, Associate Professor and Coordinator of Jazz Studies at Georgia State University, takes a break from the teaching role, steps into the studio and deli…

Dr. Gordon Vernick, Associate Professor and Coordinator of Jazz Studies at Georgia State University, takes a break from the teaching role, steps into the studio and delivers a fine example of his composing, arranging and playing with his latest release "The Strangest Thing." Important to note is that each artist joining Dr. Vernick is an active jazz educator in the Atlanta community as well. They are doing their part to keep jazz alive and developing.

The opening composition, "In the Dark" written by pianist Kevin Bales, swings from the "get go" and includes ample leg room for developing powerful, expressive solo arguments. Creative improvisation by Dr. Vernick, Sam Skelton, Saxophone and Mr. Bales on piano says "listen, this is how you do it". Just smokin’!

Moving on, we get Dr. Vernick’s ballad and title composition, "The Strangest Thing". This CD delivers several fine original compositions which show that the "standard book" is not always as a requisite for a jazz recording. These two opening compositions should join the playlist for artists looking for new and fresh compositions.

Floating lightly over the subtle bass and drum current, Herbie Hancock’s "Dolphin Dance" comes next. Dr. Vernick and Mr. Bales start playfully as one would imagine two dolphins playing in a sun-drenched cove, building intensity by keeping a manageable pace and providing the perfect effect for an intoxicating ebb and flow.

Tim Hagans’ composition "For the Music" keeps the session floating in a 6/8 meter which only subtly delivers a wave-like movement. Mellow is synonymous with Flugelhorn and Dr. Vernick lays on the mellow with a spatula. Mr. Bales takes over next, no rush, just building a solo full of color and expression.

There is something that just feels right about leaving some imperfections on a jazz recording. The occasional note missed, one that searches a while for its home is what delivers the "real" feel of the project and the musicians on it. It is what comes out in most live settings. Thank you Dr. Vernick for sprinkling a few misses into the project. It is what makes it a hit and keeps it real.

Next up is "High Drama" written by Guitarist John Hart and recorded on his 1996 project of the same name. Soloing to this listener should have a starting point of introduction, some kind of opening statement or premise. Expression and intensity should continue through the soloist’s message, ending with a bold exit/closing message/statement that is also a queue for the next soloist to take over and start anew with an introductory point which is the basis for the build up again. Supporting musicians listen for ways to support the build, showing a respect for the soloist’s direction and helping build intensity at a pace that is comfortable and subtle. Done well, the listener sees and feels the outpour of energy. Listen to "High Drama", the ensemble delivers a nice example of this kind of soloing with group support.

The imagery created by the CD’s artwork is a perfect visual with the last four selections. The consistency of ambience and mood produced among these compositions is magical and make for perfect companions. Take a look at the brick buildings with strong archways. The dimly lit spaces produce more shadow than light. Embrace the possibility of a late night. Street musicians gather and have more to say than words can express. They gather and just play.

The 1930 Paramount Pictures release "Playboy in Paris" produced the beautiful ballad "My Ideal", music by Richard Whiting and Newell Chase and lyrics by Leo Robin. The song tells the story of a man who in his mind creates the picture of his ideal girl. He is stricken by the quandary of not knowing if she will ever appear and if she does, will he recognize her or will he just pass her by. Now listen as Neal Starkey introduces the story with his heartfelt bass line. Enter next, Dr. Vernick and one can only ponder that he is thinking the same only through his trumpet while on a Parisian side street, leaning on the bricks, playing under the shadows of the far off street light. Mr. Bales then gets his chance to answer the question through his piano voicings. The tune circles back one more time but still with no clear answer.

"Pour toi, Monsieur Cote’", was written by Dr. Jared Burrows. Loosely translated means "for you Mr. Cote’." Dr. Burrows is an educator, composer, musician living in Vancouver, British Columbia and wrote this song for a fellow Canadian jazz drummer named Francoise Cote’. When asked, Dr. Burrows commented, "the tune has a kind of dark/bright, major/minor moody quality which reminded me of Francois, but mostly the title is there simply because I like to write tunes for my friends. The opening of cymbal and piano musings create a fog-like setting out of which emerges the trumpet melody. Behind Dr. Vernick, the supporting musicians continue to splash sounds illustrating the constant droning of the heavy night air. Mr. Bales then takes over and explores what might lie among the dark and damp back allies. The stage is dusted sparingly by Justin Varnes choice of cymbal tones. Visibility seems to improve and Dr. Vernick returns as if the sun begins breaking through and the street lights up.

Some of the best jazz standards are titled in the past tense, so true is "I Thought About You". Initiated as a piano/trumpet duo, the comfortably loose trumpet fingering on the melody, supported by the clean, driving lines of Gary Motley on piano provide subtle contrast that makes this work. The attentive listener will then notice as soloing moves to Mr. Motley, he is complimented by the base playing of Mr. Starkey. When the piano solo comes to closure, the Piano Bass and Trumpet trio takes the tune out.

"Blue Notes" by Bill Cunliffe, Jazz Pianist, Composer and Educator takes us home with a lazy but steady groove which promotes interplay among rhythm section and horns. A fine selection to close out the project.

What jumps out after a careful listen to Dr. Vernick’s project "The Strangest Thing" is the real sound of the music and the players. He does not try to over produce or engineer the CD. The songs are real, the music is real and the players are real. The feeling is like being in the room with it and this feeling is rarely captured with today’s projects.

Well done. What you hear is what you get and you get a lot of good music.

Bruce Pulver, December, 2008

These are my comments. I welcome yours. Reach me at Bpulver2004@yahoo.com

"Just Groovin" is the perfect title for Diane Marino’s latest release. Blending her powerfully expressive voice with her passion for songs of the 1960’s, Ms. Marino collaborates with the "best of the best" featured artists who, according to co-producer and husband Frank Marino, "just wanted to be a part of this project." "Just Groovin" is a real head turner.

A quick look at the song list begs, hmmm, let’s take a listen. Not a typical jazz recording, (how could it be?) The choice of songs captures anyone who recalls the smooth, soulful songs from this era. Arrangements by Ms. Marino and Jeff Steinberg, along with Nashville’s finest supporting studio musicians are what keep the listener engaged. Both swing hard when called upon and drape the ballads with sultry, smoothness, at a moment’s notice. The guest soloists are certainly featured but as an integrated component of the overall project. Coaxing these ingredients into a successful outcome is quite a challenge. Well done.

After several listens, a clear image comes to mind. Remember the television variety shows of the 1960’s? You know, before cable, TiVo, the internet, text messaging, video games and reality TV. Parents would sit around the TV after the kids were in bed. The evening might include an adult beverage in hand enjoyed after a long day at work. It was a time to sit back and be entertained. At some point during the show, usually between the comedy sketches and the flashy dance routines, lights dim, a full orchestra is lifted behind a see-through curtain. In front a piano, microphone and bar stool are all at the ready. What will happen next?

The show host introduces Dionne Warwick, Aretha Franklin, Gladys Knight, or some other preformers of the era. This critic was the one put to bed. However, when a hint was provided that one of these singers or maybe jazz legends like Ella Fitzgerald, Frank Sinatra, Tony Bennett, Buddy Rich, Count Basie was to be the featured guest, new goal emerged.

The new challenge was to sneak out of bed and crawl hands and knees across the shag carpet, stopping just around the corner to catch a glimpse of the singer and the smoking band. After a song or two, a commercial would be followed by another dance or comedy routine. The key was to get back to bed without drawing attention and the resulting parental spanking for not being asleep. Ah! Which was more fun, hearing the music or not getting caught?

"Just Groovin" includes a year’s worth of music from this type of memory, flannel PJ’s, carpet burns and all. Ms. Marino mixes the right amount of commercial appeal with an inviting splash of jazz and soulful playing for the curious ear. Thirst quenching!

The refreshment comes from enjoying songs often passed over by vocalists in favor of American songbook selections. The selections on "Just Groovin’" are as much a part of American popular music as any others. Thanks for dusting and polishing these classics into your great interpretations.

Take the time to listen. Catch the well blended ensemble playing for sure, but the soloists provide deeply-rooted, soulful playing. Houston Person, is like the elder statesman, who does not need many words (notes) to make a bold statement. Kirk Whalum’s sound can brighten up anyone’s day. Wycliffe Gordon has such a rich sound on trombone, like fresh cream in a steaming cup of Java. Proper respect is given when Ms. Marino invites original Rascal Felix Cavaliere to perform a duet on his classic composition "Groovin". The alto sax solos by Cole Burgess and Mark Douthit, the smooth trumpet sounds of Rod McGaha and heartfelt Cello of Anthony LaMarchina also deserve special mention. These guys are all tremendous players.

"Just Groovin" is just plain fun. Check it out!

Bruce Pulver, September 2008

These are my comments. After you listen send me yours. Reach me at Bpulver2004@yahoo.com

Bassist and composer, Jamie Ousley introduces his composing and arranging mastery by collaborating with longtime friends and band mates, Pianist Phil Strange and Drummer Larry Marshall. What we get is "O Sorriso Dela" an example of trio playing at its finest. TOP SHELF!

The title track "O Sorriso Dela" opens this project with an intoxicating, zesty melody that gets into the ear and quickly sets up shop. Upon first play, the spirits of anyone listening is surely uplifted. Plenty of time is allotted for solo exploration around this happy tune. Mr. Strange is adeptly selective of his notes; like a hunt and peck typist, carefully, deliberately choosing only the right notes. Absolutely no correction tape needed. The intensity builds with the control of a musician clearly focused on his creative expression. Soloing is then turned over to Mr. Ousley who deftly describes "O Sorriso Dela", (Portuguese for "Her Smile") by recanting the melody then dancing about with the excitement of a child playing with a new friend. Larry Marshall is offered the stage on Drums. Mr. Ousley chooses a vamp chorus that supports a tasteful, expressively-developed percussion exploration. End game yields various cymbal colors and amazingly clean, syncopated "ghost note" playing teasing but never tripping the listener. "O Sorriso Dela" is surprisingly delightfully fresh composition.

The hypnotic and trance-like second number is entitled "Someone." Mr. Ousley entices a question: "Who is this someone?" If as beautiful as the composition, what a sight this "Someone" must be. The trio is never in a hurry; the reveal is dramatic in its deliberation, offered with patience and passion.

Trio waltzes are risky, especially when played up tempo. Speed can eliminate open space and cramp creative freedom. With the composition "Helen’s Tune", the group combines a Vince Guaraldi-like feel with a Claude Boling, formal and classical approach delivering a clean and captivating performance. It might even invoke a desire to grab a light-footed partner and give the dance floor a go.

Luscious bass lines, offer the deep-noted melody of "T.I.E Trio" which is framed in a subtle blues. Once again the trio adopts a wait and see attitude. No fuss, no rush to reach a finish line. After the initial melodic statement, Mr. Ousley takes control of the rudder which enables "follow the leader" interplay with piano and drums weaving in and out of the solid bass controlled foundation. Musical freedom, recognized and used tastefully makes for great art. Bass gets a stab at the soloing and lyrical is the style delivered. Mr. Ousley’s engages the listener in a straight-forward conversation. Clean and articulate. What else is needed? Just a simple applause. Next Mr. Marshall’s drumming is released to convey his message. Drum solos should be about well placed choices that mix space, speed and dynamics that create a compliment to the composition. Not always delivered in this critic’s opinion. But here, as with the opening tune, graceful syncopation is at the core of the playing.

"Solveg’s Song" by classical composer Edvard Grieg is chosen next and starts with a soothing and rolling introduction. The rich sound of acoustic bass emerges from the coaxing of the bow. The melodic helm is then handed to the piano. Mr. Strange puts his paint to the canvas. The result: A truly inspiring performance. PLEASE STOP AND LISTEN.

On to another Latin-inspired composition, "Make It Spicy". These guys are so at ease together. Regardless of style, the trio is never "in your face" with technique or too much playing. This is special music created from a special relationship among the artists. Everyone stretches out with intense use of dynamics which produces a balanced, expressive performance while maintaining composure.

More beautiful bow work welcomes "Epiphany". The bass sings as if in sorrow, mourning a loss of something painfully important. Mr. Strange then picks up the pieces and states "all is not lost." Ah the epiphany: out of sadness can emerge a spark of hope and positive expectation. Back to Mr. Ousley who plays as if hearing the message. Life goes on; wise are those that look for the good in any sorrowful situation. Again, JUST STOP AND LISTEN.

Mr. Ousley closes this wonderfully artistic project by giving respect to his home state of Tennessee. Listen closely to the bass, interpretation of the Redd Stewart and Pee Wee King composition, "Tennessee Waltz" recorded live at the University of Miami, Broby Hall. There is no place like home, is there?

Trio music is special, like an equilateral triangle, each side support the other two, no one part more important than the other. On this recording, Jamie Ousley delivers great music that needs to be recognized, sought out, and applauded. Jamie Ousley, Thank you for sharing your special gifts.

What does No More Blues, Michael B’s latest offering on Primrose Lane Records, have in common with the following?

A tread-worn tire lazily hanging from a lakeside oak tree.

A humid August evening spent sitting on Grandma’s front porch.

It’s all about the SWING and staying COOL, which is exactly what Michael B does musically with his latest effort entitled "No More Blues." The listener enjoys plenty of swing along with the cool vibe of collaborative group playing. Feel the energy oozing from every note struck in this aptly titled recording.

Michael B (short for Boggioni) follows up his freshman project as bandleader Dem’s da Breaks with this powerful declaration that screams from here on out No More Blues.

Michael B’s musicianship is basted with influences, but melded into his own bluesy, swinging, vamping, romantic style that captivates the sense that he is having more fun than he should be allowed. He uses his skills of a well-trained, disciplined artist, yet plays free from any limitation of technical guardrails. His music comes from deep in his heart. The result is passionate. Just listen.

If Luther Hughes’ punctual bass lines could speak, they would shout the old Greyhound bus slogan "leave the driving to us." His use of time and space shows his years of experience. His tone, combined with impeccably positioned lines, is superb. He provides exquisitely supportive and suggestive musicianship.

Bruce Forman shows why he is a "first" call guitar man. He brings just what the setting calls for. He adds the right ingredients to the musical mix wherever he goes. His playing is colorful and creative whether supporting the cast or fronting it.

Paul Kriebich complements the music on drums. His confidence as a player is not caught up with attempts at perfection. He plays it has he hears it and weaves in and out of the music in ways that give his partners room for ebb and flow. Some drummers try to be to perfect and sound almost too academic for the music. Paul lets the music breathe free and easy. Very nice work.

What about the Music?

This quartet shows a comfortable playing style. Never sounding too rehearsed, the spontaneity is there for the tasting and is never over-cooked.

The ear is immediately summoned to attention by Tom Jobim’s "Chega de Saudade" Brazilian translation is "no more sadness." The purposeful piano introduction foreshadows something is to emerge, but what? No hurry, no worry. Ah, patience pays off.... Bam! Let the "swing" begin. Bruce Forman’s guitar takes "point" with first a Latin-framed chorus that invokes a scene of fan-waving listeners trying to stay cool. Luther then flips the switch. Guess what? We get the swing back, front and center. Nice transition of feel unexpected but no cause for any stubbed toes.

Next, it’s Michael B’s turn on the porch swing. Then home again with a restatement of the introduction. Great opener.

Duke Ellington’s "Things Ain’t What They Used to Be" is up next and begs the subtitle "They are MUCH better." Michael B creates, and band mates maintain, a slow intensity that simmers, adding a bit more heat with each chorus. Controlled growth keeps the listener engaged and toe tapping.

Two tasty ballads follow:

"Blue Reflections" is the first original composition introduced and begins with a subtle, flowing groove supporting the piano/guitar tandem interaction on the beautiful melody. The musical journey leads to passionate solo development by Michael B and Bruce Forman.

"Be My Love" is a played with a classic ballad feel. On this Nicholas Brodszky/Sammy Cahn song, Michal B commands the piano to give the listener a lesson in ballad-ology. Highly emotional with no wasted effort.

Luther Hughes brings his bass to the front introducing the melody on "Am I Blue?" The answer here is yes, blue as a clear sky. Just plain happy music played by guys having fun.

The waltz feel with Michael B’s "New Life" delivers a hop, skip, jump briskness that allows all members of the quartet to slide in an out lightly afoot.

Erskine Hawkins composition "After Hours" is a blues that ushers in the set that begins after the club doors close for the evening. This one is just the bartenders and waiters as they clean up after a long night of serving patrons. So this is what goes on behind closed doors?

Michael B plays musical tribute to his late wife and biggest supporter with his composition "Song for Jo Jo." Music conveys love and emotion like no other creative expression. What a beautiful song for no doubt a beautiful person.

Seldom recorded Oscar Peterson tune "Blues of the Prairies" has a get-along-little- doggies pulse with wide open spaces, dusty trails, parching heat of the sun. Again, this quartet rides along together just taking care of business, keeping things going. Happy trails.

"My Romance" is a composition performed and recorded by many pianists, in many different ways, with virtually every instrumental setting. Michael B delivers his solo piano interpretation of the Rogers and Hart classic. Instructions for the listener: Listen, listen again, and then repeat. Simply beautiful in every way.

Taking us home is Quincy Jones’ "Miss Cellie’s Blues," which re-enforces how much this group of guys can swing. This time, the swing is in a honky-tonk style leaving this listener satisfied but certainly wanting more.

No More Blues is live and full of positive energy. Michael B poured his heart and soul into every second of the music. His musical brothers followed him willingly. He has truly made "these" blues into a joyful, engaging experience for the listener.

Annie Sellick goes out on a tall limb and boldly says "Nana Nana Boo Boo, I’m doing something completely different." She hooks up with the Nashville-based Hot Club Band to create a magically fun musical experience. "Annie and the Hot Club - Plays the Music of Tom Sturdevant" is the real deal. It is a fun loving, story telling, toe tapping, tear jerking, sit back and enjoy experience for the listener. A certified "less of the same" endeavor.

Many artists refuse to stray from the style that brought initial success. They often will take a deep dive to explore all they can in their comfort zone. Makes sense, right? Why vary and put the fragile and cherished fan base at risk. There is a sense of safety and comfort to live by the "more of the same" mantra. Not Annie....

So, it takes a big set of .... let’s just say "lungs" to stray from the predictable, comfortable spaces that most fans want in their music.

But for the Attention Deficit-Hyperactive Disorder listeners, (this writer included) when a familiar artist tries something new, we say "hot damn," especially when the new direction oozes with the artist’s passion from the first downbeat through the resonance of the last vanishing note.

Fallen hard into the original music quest, Ms. Sellick searches for music appealing to her. She has always performed with an intense "live the lyrics" passion so this is a natural direction. Up until know, Annie has given us mostly music inspired from the American Songbook. This was "all good" and a track she could have ridden for many years with much success. But NO!

Not having to travel far, Annie found Tom Sturdevant, a Nashville-based songwriter. The two clicked right away and the result is a delightfully original and highly creative set of music from Annie, written for Annie, chosen specifically by Annie. How rare is this in the musical choices we are offered in the mainstream today? Listen to the writing; the lyrics are captivating and believable. There is at least one life story that will relate to each listener.

Opening with "Sugar", Annie and the Hot Club Band get the blood flowing, body moving and face smiling. Who doesn’t want a little sugar, however it is defined? Short, playful solos are then taken as a quick way to introduce us to the fabulous Hot Club Band musicians.

Settle into the CD with "I Love You", the most romantic three words in history. Picture Annie and composer, collaborator Tom Sturdevant sharing the piano bench while rehearsing and you get a sense of the informal, "let’s just sing a song together" feel captured here. Pat Bergeson sprinkles in his tasteful harmonica skills to take us out.

Next, "Mystery of Love" has several parts that catch the ear. First, the steady but eerie rhythm just creates the feel of a mystery. Love, whether young, old, simple, complicated, has yet to be completely explained. Nice effort of laying it down for us. Love is just a mystery, any questions? Second, any vocalist willing and able to incorporate the Kazoo into a project is just plain cool and unencumbered by conformity. Way to go Annie! Less Cowbell.... More Kazoo!

Does Aaron Till’s Violin invoke a longing, pleading voice searching for validation on "He Loves Me I Can Tell" or is it a sassy confidence? Can’t tell. How about you? Then, mid-tune, this voice suddenly switches to a happy dancing heart. So which is it? Annie’s secret for now.

Whispering can be singing, right? "Pussycats and Moonbeams" is delivered with an intensely quiet passion. The guitar accompaniment keeps things moving at the perfect pace, just above motionless: Wonderfully relaxing!

In "Wish I" you can feel the song actually breathing through the delicate and hypnotic touch of Jeff Taylor’s accordion work. Wonderful, subtle Latin feel to the beat. Great love song. Other vocalists will want to use this song. Just a great song!

Enough of the longing and wishing, how about some more upbeat happy stuff? Enter "Chickadee and Cockadoodledoo". Toes again tap and the Hot Club Band shows off its playing with a circle of "it’s your turn, now my turn" soloing leaves you wanting more.

Annie takes us directly into the likely common story of a "Full Moon Saturday Night." Marinated in a seductive tango-feel is the story of two people separate before the night begins but with similar plans for the evening. Arriving separately, being alone does not last for long. Is this chance or planned?

Then there has to be a story about an old "codger" who still has what it takes to keep life interesting. "Henry McIntyre" still looks forward to his Saturday Nights out on the town. Simple routine but just what Henry likes, just the way Henry likes it. Certainly Henry has more stories to tell but there just wasn’t enough time here.

"Lonely," who doesn’t have a story to tell about this feeling? The picture here is Annie leaning against a porch post, band sitting behind her on some chairs in a circle, lots going on around her. This is a song that the singer is singing to herself and if we get to listen fine, but she really doesn’t care. The blues feel here is one that lingers long after the closing notes.

It has been said that eyes are the window to the soul. Next comes two compositions dealing with this head on. First, "What My Eyes Might Say," the title tells it all. Just listen for yourself. Then, Annie tells us about "Last Night I Cried My Eyes Out." Set in a comfortable form for a sad love song, the waltz, Annie then regroups to take control of the issue, and gets over her heartbreak, takes us up tempo and moves on. Again, each band mate celebrates with individual solo contributions.

This project closes with the most unique sound of the mix. At first listen, this song screams to join the list of lullabies that will put the young infant to sleep at night. With an old Irish tune flavor, it is as it is titled, "Simply Beautiful."

In today’s world of instant access to information, a quick internet search can tell you more about the amazing musicians on this recording than space here allows. Suffice it to say, the way Richard, Pat, Charlie, Aaron, Tom, and Jeff play together shows the musicianship of both individual as well as group play. They provide what it takes to contribute to each other and deliver a single unified experience for the listener.

Annie Sellick and Hot Club Band, gives us a patchwork quilt of music certain to warm your heart, put a lift in your step, a tear in your eye and a smile on your face. Get cozy and enjoy. If you are a true fan you will appreciate the artist, not by the number of familiar works, but by the stretch and risk the artist is willing to take.

Keep going Annie!

These are my comments. I welcome yours. Reach me at Bpulver2004@yahoo.com

Different Smile is a glorious buffet for the ear. Kaz Simmons' hypnotic voice is deliciously infectious. Her arrangements eagerly explore form and meter. This wor…

Different Smile is a glorious buffet for the ear. Kaz Simmons' hypnotic voice is deliciously infectious. Her arrangements eagerly explore form and meter. This work comes hot out of the creative, sonic bakery. Listen to the unique sounds of her writing, use of spaces, and lyrical storytelling. Refreshingly uncommon and delightfully captivating.

Demonstrating growing "artistry," all songs are either written or arranged by Ms. Simmons and are woven to incorporate her talented music mates. Fearless to the prospect of outside criticism, Different Smile cuts a new path departing from her 2005 debut release, Take Me Home. Exit the Jazz Standards. Enter waves of fresh writing, arranging and expression.

Some Specifics.

"Mantra", an original composition, kicks off the recording with a 5/4 meter floating over light and subtle cymbal patterns by Dave Smith on Drums. The lyrics seem to plead for an affirmation in the midst of an emotional storm, that "all will work in the end." Strength can come out of periods of turmoil.

A beautiful interpretation of a Carlos Antonio Jobim’s composition follows. Start off with a storm brewing on the coast of the sea. The clouds quickly burn away and the journey on the "Estrada Do Sol" (Road to the Sun) begins. As the arrangement develops it is clear this road has many paths, masterfully explored through improvisation by Ivo Neame (piano) and Sam Crockatt (tenor sax.)

Whenever a singer grabs a song done by Nina Simone, inherent danger lurks. The unique sound and emotional power of Ms. Simone’s music left an indelible mark on any song she touched. Trying to replicate requires a delicate balance of respect to the history and of an eye to the modern. The interpretation of "If You Knew" is well arranged and performed. A well calculated risk.

"How Can I Be Sure?" supports an overriding project theme which contains songs of uncertainty and speculation in the storyline. Once this tune is turned over to the supporting ensemble, Ms. Simmons can rest assured she is in good hands. Deft Fender Rhodes work by Ivi Neame, brief but tasteful note dustings by Sam Crockatt’s saxophone, earthy and dark percussive expression by Dave Smith locks down the all the certainty this writer needs to be sure that this recording is worth a serious listen.

There is much more for the listener to explore so check it out. Different Smile delivers an intriguing second chapter to Ms. Simmons' accelerating musical journey.